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Movie · 2028

Movie · 2027

At the exact minute that baby Nino first came into this world, a rocket erupted through the walls of the Beirut hospital where his mother had just given birth — it was 5:05 p.m. Down the hall, just a few seconds later, a different woman gave birth to a little girl named Yasmina, whose cries could hardly be heard over the sound of the explosions around her. That happened at 5:06 p.m. “A Sad and Beautiful World” is acutely specific about the time, but withholds any concrete information about the date; amid the half-century of intermittent violence that has plagued Lebanon since the start of its civil war in 1975, such incidents have become as cyclical and unspectacular as the seasons. What year is it when this decades-spanning love story begins? It doesn’t matter, and writer/director Cyril Aris (“Dancing on the Edge of a Volcano”) deliberately confuses the point.

The European Commission has approved Paramount Skydance’s $111bn (£84bn) takeover of Warner Bros Discovery on the condition that it ends its United International Pictures (Uip) film distribution joint venture with Universal Pictures. In its ruling, the Commission expressed concern about Paramount’s distribution market power in Europe if it acquired Wbd while continuing its Uip joint venture. It noted: “The transaction would have meant Warner’s films were also distributed via Uip and, without the commitments, it would have led to worse rental and distribution terms for cinema operators, ultimately disadvantaging consumers.” The Commission confirmed reports last month that

Richard Linklater loves his baseball maybe more than any filmmaker not named Ken Burns. After directing his “Bad News Bears” remake, the baseball documentary “Inning by Inning: A Portrait of a Coach,” his college baseball comedy “Everybody Wants Some!,” he’s found another pet project on an icon of the game, Lou Gehrig. Linklater is attached to direct an untitled film about New York Yankees great Lou Gehrig at Universal Pictures, and Linklater will reunite with the star of his “Hit Man” and “Everybody Wants Some!” Glen Powell to play the luckiest man on the face of the Earth. Simon Rich, the “SNL” writer who most recently penned the screenplay for Luca Guadagnino’s much-discussed Sam Altman movie “Artificial,” is writing the script. And Lorne Michaels, himself a massive Yankees fan, is producing the film alongside Erin David as part of his banner Broadway Video’s first-look deal with Universal.

Sophie Thatcher knows what you think about her. She’s seen the headlines and social media posts. She’s dark. Maybe it’s the acting choices, like Natalie, her tortured teen on “Yellowjackets,” or an abducted missionary in “Heretic,” or the enslaved robot girlfriend in “Companion.” Perhaps it’s her Mormon upbringing, which she believes has fostered “a feeling of repression that has leaked into all of my characters.” (Thatcher left the Lds Church when she was 12.) Or is it her penchant for punk rock music and gothic fashion? Whatever it is, in conversation, the 25-year-old Chicago native comes off warm and witty, a far cry from her icy cool onscreen persona. The occasion for our talk is a fun one: “Her Private Hell,” a hypnotic and seductive future-horror film from Nicolas Winding Refn (“Drive”), his first movie in a decade. Thatcher plays Elle, a glamorous movie star in a

The European Commission approved the merger of Paramount Skydance and Warner Bros. Discovery on Wednesday, removing one of the few remaining obstacles to closing the $111 billion deal. As a condition of the approval, Paramount has already agreed to cancel its film distribution partnership with Universal in Europe within the next 13 months. A federal judge in Oakland, Calif., on Monday temporarily halted the merger, pending a hearing on a preliminary injunction sought by 12 states including California and New York. The states argue that the deal will consolidate two of the top three basic cable programmers in the U.S. and two of the top film film distributors, leading to higher prices and less output. The European Commission conducted a similar investigation of the impacts in the European Union, finding that the deal will not harm competition in TV or film production, as enough global and local competitors will remain. The commission

When “Hadestown” premiered on Broadway’s Walter Kerr Theater in April 2019, practically every review of the production mentioned the unintentional resonance of the big Act One closing song, “Why We Build the Wall.” In the context of the musical, songwriter Anaïs Mitchell and director Rachel Chavkin’s fusion of Greek mythology with 1930s jazz, the number sees God of Death Hades revel in his dominance over the Underworld and his subjugation of the dead he’s enslaved as his miners and builders. Mitchell had written the song in 2006, when she first workshopped the show in small Vermont regional theaters, and it appears on the released 2010 concept album. But in 2019, the concept of building a wall was so inextricably linked to modern politics that it couldn’t help but make a fantasy tale hit all too close to home. Not that “Hadestown” needs Trump parallels to feel relevant. Mitchell and Chavkin